Presented by Independent Theatre
Reviewed Friday 5th November 2010
http://www.independenttheatre.org.au/season2010.html
Venue: Odeon Theatre, 57A Queen Street, Norwood
Season: to Sat 13th November various days and times, see the BASS web site for details
Duration: 2hrs 15min incl interval
Tickets: adult $30/conc $25
Bookings: BASS 131 241 or http://www.bass.net.au (booking fee applies)
Artistic Director, Rob Croser’s, adaptation of Sir Arthur Conan Doyle’s popular Sherlock Holmes mystery is his best work to date. His script is concise, clear and, under his acute direction, translates into a fine evening of theatre. He has also, wisely, chosen to have a long first act and a short second act in order that the interval occurs at a logical time in the story. The first act has plenty of pace and excitement but the second act, where Holmes draws in all of the threads and proceeds to close the case, flies along.
Sherlock Holmes is called in by Dr. Mortimer to investigate the eerie happenings surrounding the death of Sir Charles Baskerville, as the doctor is worried about the future wellbeing of Sir Henry Baskerville, who has arrived from America and is about to take up residence at Baskerville Hall. There is a legend of a curse going back to the death of the wicked Sir Hugo Baskerville. It speaks of a huge, ghastly hound, and there were footprints of a gigantic dog found near the body of Sir Charles. With all the usual twists and turns, red herrings and clues that only the mind of Holmes can sort out into a logical conclusion, this is one of the best known stories of this fictional detective.
Nick Ely, as Holmes, and Keith Wilson, as his faithful companion and chronicler, Dr. Watson, complement one another well in the main roles. Ely is commanding and confident as Holmes displaying that restlessness of which Doyle writes. Wilson gives us a fine interpretation of the supportive friend and occasional assistant, a solid, reliable companion for the somewhat erratic genius. Wilson does need to be more aware of where his lighting is coming from, though. A few times he stood in shadow of another actor when the light was a sharp shaft across the stage and, when the light is from directly above, he sometimes leans forward or looks down, placing his face in darkness.
Nic Krieg plays Dr. Edward Mortimer, bringing out the eccentricity of the character and his obsession with phrenology, trying to talk Holmes into allowing him to study his head. He injects a touch of humour from time to time into a largely dark tale.
David Roach and Myra Waddell are another good pairing as John and Eliza Barrymore, the butler and his wife, who have a secret of their own. They are very convincing as a couple who have been married for many years giving their characters a strong feeling familiarity born of years of togetherness.
Adam Tuominen and Peta Long play Jack Stapleton and his sister, Beryl, to whom who Sir Henry finds himself attracted, and they, too, make a believable couple. Croser’s casting of the duos in this play shows a fine eye for balance. In this case there are hints a certain tension between them, in spite of their seemingly amiable natures and relationship, that these two manage to bring out in their performances, without being too obvious. As their true natures appear they handle the transitions with skill.
Catherine Ellice-Flint plays Laura Lyons, who finds herself cruelly deceived by Jack Stapleton. She, too, adds another superb performance invested with a wide range of emotions.
The set, by Roach and Croser, has multiple levels and imagery and, with Matthew Marciniac’s very varied lighting, locations are clearly depicted and quickly changed, another aspect of the production that aids in keeping the pace high. I did find the sound effects, recorded by John Palfery and Godchild Mowaey, perhaps a little excessive and a touch too loud, at times, making some lines hard to hear from further back in the audience. They were however, very fitting and added to the horror of the story. The costumes, too, are impressive.
Sherlock Holmes is as popular as ever, and this is the real thing, not an awful Americanised or modernised version; it is faithfully adapted from the original story. How refreshing, in this day and age, to find that you get exactly what you expected. The opening night was completely sold out, and so are some other nights during the season, so you will need to move very quickly if you want to get a ticket or two for this excellent production.
Reviewed by Barry Lenny, Arts Editor, Glam Adelaide.
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